The Discreet Insensitivity of ‘Slumberland’
The cultural insensitivity of 'Slumberland' is discreet, and can be easily overlooked in CGI extravaganza.

Magazine editor Valerie Carr lives in London with her two daughters Jan, aged seventeen, and Poppet, thirteen. When Jan is invited to a party at the Savoy, she meets dashing young Tony Ward Black mad about jive, owner of a Bentley, and supposedly running through a legacy. Attracted to the daring young man, she rejects Mark, a young farmer who is in love with her. But it soon becomes apparent to everyone but Jan that neither Tony's fortune nor even his name may be his own, and her association with him will lead her into delinquency and danger.
The cultural insensitivity of 'Slumberland' is discreet, and can be easily overlooked in CGI extravaganza.
Sam Levinson's latest film can't keep up with the excellence of its performances.
It’s dark, uncomfortable, and there are things that don’t make sense.
The gentle, emotional nuances of Evan’s coming-of-age story would have been so beneficial to have incorporated into the life of a POC character. Showing a Black, Asian or Latino young man that is afforded the space to be vulnerable, flawed and sensitive while driving a compelling and widely-loved narrative would have been a game changer.
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If you enjoy Japanese cinema, absurdly violent action films, gangster flicks, or joyfully strange cinema, 'Why Don’t You Play in Hell?' is a must-see.